Nov. 30 (Bloomberg) -- “I get so absorbed in my roles,
it’s like a drug,” says opera star Jonas Kaufmann. “I have to
remember to keep control. I don’t want to end up really killing
the soprano. I just want to make it look like it.”

He needn’t worry too much about unintentional homicide in
his latest role. In Francesco Cilea’s 1902 opera “Adriana
Lecouvreur,” the leading lady is murdered by the jealous mezzo,
not the tenor. He just has to storm and sob during her long
death scene.

The work hasn’t been performed at the Royal Opera in London
since 1906, so, to overcome audience unfamiliarity, the company
is pulling out the stops for its lavish new production. Silken-voiced glamorpuss Angela Gheorghiu takes the title role. Stage
wizard David McVicar directs. And the male lead is the power-plus tenor du jour, Kaufmann.

Famed for his intelligent phrasing, impressive decibels and
dark good looks, the 41-year-old Bavarian is currently one of
opera’s biggest box-office draws. I met up with him after a
rehearsal to ask about his latest role debut, keeping fit, and
how he spends his fees.

Dressed in jeans and a natty close-fitting blue sweater, he
bounces into the room full of energy. He loves his role, he
says. “The tenor is usually the one who suffers in opera,”
Kaufmann says. “Here, he behaves badly. He’s having two women
at the same time, maybe more. It makes it so interesting to
act.” An explosive laugh pops out of him. “It’s such fun to
play a character like that.”

‘Controlled Ecstasy’

What’s the main challenge of his role? “It has the same
challenges as all verismo opera,” says Kaufmann. “You squeeze
as many emotions out of your soul as you can, and fill up your
sound with those feelings, and it can happen sometimes that you
go over the edge of being healthy. You have to give the
impression, even to yourself, that you’re giving everything you
have, and then keep some reserves so that you don’t hurt
yourself. Karajan called it ‘controlled ecstasy.’ If you don’t
keep control, it’s not going to work.”

His character Maurizio is loosely based on the real-life
German military nobleman Maurice de Saxe (1696-1750). In the
opera, his former flame the Princess of Bouillon is so jealous
of his passion for Adriana, a famous (also real-life) actress,
that she sends her rival a bunch of poisoned violets to sniff.

Star Soprano

It has a deliciously over-the-top plot, three great arias
for the tenor, and a well-loved number for the soprano. Why
isn’t it done more often? “I’ve no idea,” says Kaufmann.
“Perhaps because it demands a soprano with truly great presence
in the title role. She has to have that ‘actress attitude,’ so
that when she appears you immediately understand why she’s the
focus of everyone’s attention. I couldn’t think of anyone better
than Angela. It has to have a great tenor too, of course,” he
adds with a deadpan nod.

Famous Adrianas have included the iron-lunged Magda Olivero
and big-throated Renata Tebaldi. Is the more delicate Gheorghiu
up to it? “Yes, she is. It’s so surprising that she has the
capability for the big phrases as well as the tenderness and
softness. She really gives everything.”

Is the opera’s unfamiliarity causing any problems? “A
verismo opera like this needs plenty of flexibility in the tempi
to live,” Kaufmann says. “I don’t know exactly how I’ll
perform it each night. Despite that, the conductor Mark Elder
has to keep the orchestra together. It has taken us a while to
sort that out, and we’re almost there.”

Svelte Walker

Unlike several of his tenorial brethren, Kaufmann’s big
voice comes out of a svelte figure. Does he feel pressure to
stay trim? “No, I’ve never felt that,” he says. “I just think
you have to feel comfortable with who you are.” Does he go to
the gym? “Never. I like to be fit, so I do a few exercises, go
swimming, and I love to walk. Even in the city, I can walk for
hours. As for rehearsing and performing on stage, even that can
be energetic.”

The bankable combination of talent, artistry and looks must
have brought in some nice fees. Does he save or spend? “I
spend, and I’ve been buying real estate,” Kaufmann says. I
mention a few other singers like Marcelo Alvarez and Renee
Fleming who also invest in property, and he nods vigorously.
“Inflation is unlikely to go down, so it’s actually eating up
my debt. It seems like quite a good system.”

Kaufmann is scheduled to sing Siegmund soon at the
Metropolitan Opera, and with his particular vocal power, many
are touting him as the next great Siegfried or Tristan. Is that
where he wants to go? “I feel confident I will do those parts,
though I want to wait at least another five years. You can’t
just jump over the preparatory roles that lead to those parts,
and start with the most challenging.”

Jonas Kaufmann is singing in “Adriana Lecouvreur” in
repertory at the Royal Opera, London, through Dec. 10.
Information: http://www.roh.org.uk or +44-20-7304-4000.

(Warwick Thompson is a critic for Muse, the arts and
leisure section of Bloomberg News. The opinions expressed are
his own.)